Reimagining a Modern Phu Thai Girl from 1906 Through AI

When I first encountered a 1906 photograph of a young Phu Thai girl taken during Somdet Krom Phraya Damrong Rajanubhab’s royal inspection of northeastern Siam, I was struck by her distinctive appearance. Unlike the traditional Phu Thai attire of the time, she wore a floral-patterned breast cloth, which hinted at the influence of imported textiles from Europe or China. This detail suggested a fascinating cultural hybridisation, where Western fabrics were being integrated into local dress traditions.

Curious to see how she might have looked with modern clarity, I used AI technology to enhance and reconstruct her likeness. This process brought out intricate details that weren’t immediately apparent in the original photograph, such as the smooth draping of her fabric and the elegance of her traditional high bun (มวยผมสูง). The AI-generated images helped me visualise her as a young woman at the crossroads of tradition and modernity, reflecting the shifting cultural landscape of early 20th-century Siam.

One striking feature in both the original photograph and the AI renderings was her bright, white teeth—an unusual detail considering that betel nut chewing was a common practice among Phu Thai and other ethnic groups in the region. This suggested that she was either too young to have started chewing betel nut or had consciously chosen not to adopt the custom, possibly due to changing beauty standards or exposure to modern influences. By the early 1900s, urban women in Siam had begun to abandon betel nut chewing, and this trend may have reached some rural communities as well.

Her appearance, fashion choices, and unstained teeth indicate that she was not just an ordinary Phu Thai girl but someone who embodied the subtle cultural transformations of her time. She may have belonged to a family with trade connections, had exposure to urban fashion trends, or simply preferred a more "modern" look while maintaining her ethnic identity. These details make her an extraordinary subject for historical and cultural exploration, demonstrating how young women in rural Siam were adapting to new influences while still preserving traditional elements of their heritage.

Through AI-generated images, I was able to reimagine her with greater clarity, allowing us to see the nuances of cultural fusion, fashion, and evolving social customs in early 20th-century Phu Thai society. This project highlights the power of AI in bringing historical figures to life, deepening our understanding of the past, and sparking discussions about how people navigated tradition and modernity over a century ago.

The Fashion History of Phu-Tai Women: Inspired by Photographs Taken by the Entourage of Prince Damrong Rajanubhab During His Official Inspection Tour of the Northeastern Provinces in 1906 (BE 2449).

The Phu-Tai Ethnic Group in Laos and Isan, Thailand

The Phu-Tai (or Pu Thai) ethnic group belongs to the Tai-Kadai language family and originally inhabited northern Laos and Vietnam, particularly around the Black and Red Rivers. Over time, waves of migration led to their settlement in central Laos and eventually Thailand, especially in Sakon Nakhon, Nakhon Phanom, Mukdahan, and Kalasin provinces.

During the late reign of King Chulalongkorn (Rama V), Isan was still administratively divided into different "Monthon" (provinces). In 1906 (BE 2449), Prince Damrong Rajanubhab, then Minister of the Interior, conducted an official inspection tour of these regions. Accompanied by photographers, he documented Phu-Tai women’s attire, providing invaluable insights into their clothing traditions of the time.

Phu-Tai Women’s Attire in the Late 19th to Early 20th Century

Phu-Tai women traditionally wore garments woven from locally produced cotton and silk, dyed with natural colours. The characteristic hues of Phu-Tai clothing included deep navy blue from indigo dye and shades of red derived from krang(lac resin). Their attire reflected simplicity and practicality while also conveying aesthetic preferences and cultural identity rooted in an agricultural lifestyle.

Social Characteristics and Textile Culture of Phu-Tai People

Phu-Tai people are known for their diligence, frugality, and strong textile traditions. As a result, various fabrics, including cotton and silk textiles, are commonly found among the Phu-Tai. In particular, Pha Phrae Wa (Phrae Wa fabric) stands out as a highly significant textile in Phu-Tai culture.

Phu-Tai Beliefs and Traditional Textiles

In Mukdahan Province, Phu-Tai communities commonly wear indigo-dyed sin mee cotton skirts in everyday life. For ceremonial occasions, silk sin mee skirts are often dyed in a purplish tone known as Si Pado. Additionally, some textiles share patterns linked to the Tai-Lao heritage of Ubon Ratchathani, such as Sin Thiu, a striped fabric with alternating red and black horizontal lines. Sin Thiu is traditionally reserved for the Yao ancestral spirit ceremony. Women belonging to the Mae Mueang Mo Yao lineage are believed to be required to wear Sin Thiu as dictated by ancestral spirits. While the weaving tradition of Sin Thiu still exists in Mukdahan, Phu-Tai weavers primarily produce Sin Thiu in red-black tones, making it a distinct and significant aspect of Phu-Tai textile identity.

The Aristocratic Women of Monthon Udon: Reconstructing Fashion Historiography of Northeastern Thailand during Prince Damrong’s 1906 Inspection Tour

I was inspired by the historical photograph of aristocratic women in Isan, specifically from the ruling family of Nakhon Phanom, taken in Udon Monthon approximately 115 years ago. This image, captured in Nakhon Phanom, features Madame Chankasee, the wife of Phra Surakorn Phanomkit (Phum), the provincial registrar of Nakhon Phanom, a key figure in the local administration at the time.

During this period, Prince Damrong Rajanubhab (กรมพระยาดำรงราชานุภาพ), then Minister of the Interior, conducted an official inspection tour of Udon Monthon, Isan Monthon, and Korat Monthon in 1906 (B.E. 2449). His mission aimed to strengthen provincial administration, improve local governance, and reinforce Siamese sovereignty in the Northeast. Accompanied by a photographer, this journey provided some of the earliest photographic evidence of life in the Isan region, allowing us to study the clothing styles, roles of aristocratic women, and the socio-cultural landscape of the time.

What Was a Monton?

In a European context, a Monton (มณฑลเทศาภิบาล) can be understood as an administrative division akin to a "province-general" or "regional governorship", comparable to a French département, a German Regierungsbezirk, or a British colonial residency. The Monton system was part of Siam’s centralisation reformsunder King Rama V, replacing the traditional city-state system (mueang) with a hierarchical structure controlled by the Ministry of Interior.

During this period, Siam was divided into 18 Montons, including Monton Udon, Monton Korat, and Monton Isan in the Northeast. These reforms were intended to modernise provincial administration, improve efficiency, and counter colonial threats from France and Britain.

Reimagining the Portrait of Princess Dara Rasmi through AI: Studying Historical Attire, Burmese Luntaya Acheik, Lanna Teen Jok Hem Borders, and the Political Dynamics of Siam, Lanna, and Burma

For the purpose of studying fashion history, particularly 19th-century court dress and textiles of Thailand, this project explores the hybridisation of Burmese Luntaya Acheik and Lanna Teen Jok Hem Borders in the context of Princess Consort Dara Rasmi. Given the limited availability of historical records and photographs, this initiative aims to create a new historiography by employing AI technology to reconstruct and visualise historical garments.

As part of London based AI Fashion Lab’s efforts to advance research in historical costumes and textiles, this project involves training AI models, including LoRA, to generate historically accurate representations of court dress and woven fabrics. By using AI-enhanced coloured photographs, I have created a digital portrait of Princess Dara Rasmi, reimagining the intricate details of her attire in colour. This work serves to honour her legacy and to bring the textile heritage of Lanna and Burma into a more vivid and accessible visual format.

Restoring a Royal Portrait: Bringing History Back to Life with AI

This royal portrait is a valuable historical image that was originally published by Rambhai Barni Rajabhat Institute in the book Phra Mingkhwan Rambhai Barni, printed by Amarin Printing and Publishing, Bangkok, 2000 (BE 2543). The original portrait was a black-and-white photograph, but through artificial intelligence (AI) technology, I have restored and colourised it to bring it back to life while also enhancing its clarity and enlarging the image to make the details more visible.

Fashion Analysis: Determining the Time Period of the Photograph

Based on the clothing styles and footwear seen in this royal portrait, I can estimate that the photograph was taken in the early 1950s (circa 1950-1952, BE 2493-2495).

1. His Majesty King Bhumibol Adulyadej (Rama IX)

   • Dressed in a white suit with a matching tie, a fashion style influenced by Western trends of the era.

   • Wearing sunglasses, a distinctive feature of His Majesty’s style in his youth.

2. Her Majesty Queen Rambhai Barni, Queen Consort of King Rama VII

   • Wearing a three-quarter sleeve dress with simple accessories, reflecting the post-World War II fashion style.

   • Her hair is styled in an elegant style, a popular hairstyle in the late 1940s to early 1950s.

3. Her Majesty Queen Sirikit, The Queen Mother

   • Wearing a short-sleeved, collared dress with a fitted waist and belt, influenced by the “New Look” fashion introduced by Christian Dior, which was highly popular in the early 1950s.

   • Her hair is styled in soft waves, a hairstyle favoured by aristocratic women of that period.

AI Technology and Historical Image Preservation

The use of AI in restoring this royal portrait not only revives colours from the past but also serves as a method to preserve and share historical images with new generations in a clearer and more detailed format.

This royal portrait is an important historical record, reflecting the royal duties and dignified presence of Thailand’s royal family at that time. It also serves as a reminder of the elegance of Thai culture and fashion during the transition of the 20th century.

📌 Note: I would like to emphasise that this royal portrait has been restored using artificial intelligence (AI) and is not an actual colour photograph from the time period. The colours and details have been digitally reconstructed to provide a historical context.

✨ For those wishing to share this article, I recommend including the restored royal portrait alongside it, allowing interested individuals to study and compare it with the original version.

Restoring and Colourising a Historic Photograph of Queen Rambai Barni and Prince Chula Chakrabongse

The process of restoring and colourising historical photographs offers a unique way to reimagine the past and breathe life into moments once captured in black and white. One such photograph, possibly taken in London during the exile of King Rama VII after the 1932 revolution, features Queen Rambai Barni and Prince Chula Chakrabongse in elegant 1930s attire. Through AI-assisted enhancement, this image has been meticulously restored, addressing several challenges in perspective, costume design, and historical accuracy.

The Original Photograph: A Glimpse into 1930s Fashion

The original image is a black-and-white medium shot portrait, capturing Queen Rambai Barni and Prince Chula Chakrabongse standing on a city street. The photograph showcases the Western fashion influences of the 1930s, a period that saw significant shifts in clothing styles.

Queen Rambai Barni, born as Mom Chao Rambai Barni Svasti, was affectionately referred to within the royal court as "Than Ying Na." This unique moniker, as recounted by Prince Chula Chakrabongse in his memoir Kerd Wang Parusakawan, has a charming origin. As a child, Queen Rambai Barni was playfully called a "turtle" due to her chubby appearance. When asked whether she would prefer to be a "golden turtle" or a "field turtle," she responded with a smile, "I want to be a field turtle!" From then on, she was lovingly known as "Than Ying Na."

Beyond their roles within the Thai royal family, Queen Rambai Barni and Prince Chula Chakrabongse shared a strong friendship that transcended their familial ties. As cousins growing up in the same grand yet tumultuous world of the Chakri dynasty, their bond was one of companionship and mutual respect. This closeness is evident in the photograph, where they appear relaxed and at ease in each other's company.

Fashion Details

Queen Rambai Barni is dressed in a tailored suit-skirt ensemble, complete with a matching hat. Given the fashion trends of the era, it is likely made from wool or another textured fabric, which was a popular choice for women's suits at the time. The hat follows the prevailing style of the 1930s—a departure from the close-fitting cloche hats of the 1920s to a small-brimmed design worn at a tilt. Her skirt falls at a midi length, a fashionable move away from the knee-length silhouettes of the previous decade.

Prince Chula Chakrabongse, on the other hand, wears a well-fitted double-breasted three-piece suit, reflecting the formal menswear trends of the period. His ensemble is complemented by a spearpoint-collar shirt, which was a defining feature of 1930s menswear, and he carries what appears to be a Homburg hat—widely popular across Europe during that time.

Reimagining the Portrait of Princess Dara Rasmi through AI: Studying Historical Attire, Burmese Luntaya Acheik, Lanna Teen Jok Hem Borders, and the Political Dynamics of Siam, Lanna, and Burma

For the purpose of studying fashion history, particularly 19th-century court dress and textiles of Thailand, this project explores the hybridisation of Burmese Luntaya Acheik and Lanna Teen Jok Hem Borders in the context of Princess Consort Dara Rasmi. Given the limited availability of historical records and photographs, this initiative aims to create a new historiography by employing AI technology to reconstruct and visualise historical garments.

As part of London based AI Fashion Lab’s efforts to advance research in historical costumes and textiles, this project involves training AI models, including LoRA, to generate historically accurate representations of court dress and woven fabrics. By using AI-enhanced coloured photographs, I have created a digital portrait of Princess Dara Rasmi, reimagining the intricate details of her attire in colour. This work serves to honour her legacy and to bring the textile heritage of Lanna and Burma into a more vivid and accessible visual format.

1. AI-Assisted Research on Luntaya Textiles and Their Political Significance

This collection represents an attempt to train AI models to study historical fashion, focusing on the Pha-Sin Luntaya (Burmese Luntaya Acheik textile), a style introduced by Princess Consort Dara Rasmi through the integration of Burmese Luntaya Acheik textiles with Lanna Teen Jok Hem Borders. This hybrid fashion trend embodied political and cultural significance, reflecting the shifting power relations between Siam, Lanna, and Burma (then under British colonial rule).

While LoRA AI models have successfully simulated aspects of Burmese Luntaya weaving, the intricate Acheik wave patterns remain difficult to fully replicate due to their delicate, highly detailed craftsmanship. However, the latest AI-generated images represent the most accurate digital recreations thus far, successfully capturing other elements, including Edwardian fashion details such as upswept hairstyles and lace blouses.

2. Religious and Cosmological Symbolism of Luntaya Acheik Patterns

The Burmese Luntaya Acheik textile is not merely an artistic expression but also a symbol of Buddhist cosmology and religious beliefs. Thai historian Paothong Thongchua describes the spiritual meaning of Acheik wave patterns in Luntaya weaving:

“The wave pattern on this Luntaya Acheik textile carries profound meaning, representing the sacred Sattaboriphan mountains... The layered wave motifs symbolise the peaks of the Sattaboriphan mountains and the great oceans surrounding Mount Meru. The highest peak corresponds to the position of the bun on a Burmese woman’s head, signifying Mount Meru—the cosmic centre of the universe, where Lord Indra and celestial beings reside. Traditional Burmese women style their hair in an elegant bun and adorn it with flowers not merely for beauty but as an offering to the divine.” (Paothong Thongchua, Krungthep Turakij, 30 May 2022)

Following this belief, when Burmese women wore Luntaya Acheik textiles, they symbolically represented the cosmic structure on their own bodies. The seven-layered wave motifs were woven to mirror the seven concentric Sattaboriphan mountain ranges surrounding Mount Meru, the celestial home of Lord Indra in Hindu-Buddhist cosmology.

Studying Historical Attire through AI Modeling: Burmese Luntaya Acheik, Lanna Teen Jok Hem Border, and the Political Dynamics of Siam, Lanna, and Burma

1. Introduction: AI Technology and the Study of Historical Fashion

This collection is an effort to train an AI model to study historical fashion, focusing on the Luntaya Acheik (Burmese Luntaya Acheik tubular skirt), a fashion trend initiated by Princess Consort Dara Rasmi. She integrated the Burmese Luntaya Acheik textile with the Lanna Teen Jok Hem Border (a traditional Lanna weaving technique featuring intricate handpicked supplementary weft patterns, typically used to decorate the hem of Pha-Sin skirts), creating a distinctive hybrid style that carried profound political and cultural significance during the transitional period in relations between Siam, Lanna, and Burma (then under British colonial rule).

Although several LoRA AI models have been trained to replicate the Luntaya Acheik wave patterns, the intricate details remain difficult to fully capture due to their high level of complexity and delicate weaving techniques. However, the latest results represent the most accurate visualisations achieved so far. Other elements, such as Edwardian fashion details—including upswept hairstyles and lace blouses—are rendered with high precision.

To enhance accuracy, this collection incorporates real photographs of Burmese Luntaya Acheik textiles alongside AI-generated Luntaya patterns trained using LoRA models and original photographs of Princess Consort Dara Rasmi in her Edwardian lace blouse and Pha-Sin Luntaya with Lanna Teen Jok Hem Border as reference materials.

Traditional Attire of Lao Women in Luang Prabang Under the Last King of Laos, King Mahinthrathibet (Chao Oun Kham) (1868–1895)

(During the reign of พระเจ้ามหินทรเทพนิภาธร (ເຈົ້າອຸ່ນຄຳ, Chao Oun Kham, เจ้าอุ่นคำ), King of Luang Prabang, 1868–1895, amidst political upheaval and French colonial expansion into Laos)

During the late 19th century, under the reign of พระเจ้ามหินทรเทพนิภาธร (Chao Oun Kham, เจ้าอุ่นคำ), Lao women in Luang Prabang continued to wear traditional pha sin (ผ้าซิ่น) and pha biang (ผ้าเบี่ยง) for both daily life and special occasions such as Buddhist ceremonies, merit-making, and local festivals.

This period was marked by political upheaval, as Luang Prabang faced attacks from the Chinese Black Flag Army, leading to Chao Oun Kham’s temporary exile in Bangkok under the protection of Siam. Between his two ruling periods, he lived in Bangkok, where he provided assistance to Auguste Pavie, a French colonial diplomat who played a crucial role in establishing French control over Laos.

By 1893, after diplomatic efforts led by Auguste Pavie, France formally took control of Laos, incorporating it into French Indochina. This ended Siamese influence in the region, and by 1895, Chao Oun Kham’s reign came to an end, making him the last Lao king under Siamese suzerainty. Despite these political changes, Lao textile traditions remained a strong symbol of cultural identity, especially among women.

Fashion and the Culture of Orders and Decorations During the Reign of King Rama VI

This collection is the result of AI-generated images created by training three different LoRA models on Flux: LoRA of women's fashion during the reign of King Rama VI, LoRA of men's fashion featuring military uniforms with the sash and the Most Exalted Order of the White Elephant, and LoRA of couple portraits by merging individuals into a base image to refine the model. The process was time-consuming as the original photographs were black and white, requiring colourisation before AI enhancement to achieve 3D-like quality and clarity, making them suitable for LoRA training. However, the royal decorations generated in the AI images do not precisely replicate the real medals, as LoRA could not fully capture their exact structure. Nevertheless, the images successfully convey the essence of the fashion and the significance of honourary decorations from that historical period.

During the reign of King Vajiravudh (Rama VI) from 1910 to 1925, Thailand underwent significant cultural transformations, particularly in the realm of fashion and the adoption of Western-style military uniforms. This period marked an integration of traditional Thai aesthetics with European influences, reflecting the country's broader modernisation efforts. Alongside these sartorial changes, the system of royal decorations and orders played an integral role in defining status, honour, and national identity.

Thai Fashion in the Late Reign of King Rama V (1900–1910): The Transition to Western Styles and the Tradition of Auspicious Colours

During the late reign of King Rama V, from 1900 to 1910, Thai fashion underwent a significant transformation, especially within the Inner Court. Traditional attire, which had long been defined by phaa nung (wrapped skirt), jong kraben (pleated trousers), and sabai (shoulder cloth), gradually incorporated Western-style blouses influenced by Edwardian fashion from Britain. This shift reflected Thailand’s growing exposure to Western culture and modernization under King Rama V’s reign.

The Tradition of Auspicious Colours in Thai Court Fashion

The tradition of wearing colours based on the days of the week in Thailand dates back to the Ayutthaya period. It is rooted in astrology and Hindu beliefs, which associate each day with a specific planetary deity. This tradition continued through the early Rattanakosin period and became highly popular during the reign of King Rama V, particularly among noblewomen in the royal court, who preferred to wear contrasting colours in their pra-sapai and jong kraben based on daily auspicious colours.

Despite embracing Western-style clothing, traditional elements such as the pra-sapai (decorative sash) and jong krabenremained an essential part of courtly attire. These garments maintained a sense of Thai identity, ensuring that cultural traditions were not completely overshadowed by European influences.

On Monday, a deep red pra-sapai was paired with pigeon grey jong kraben. Tuesday featured a soft lavender pra-sapaiwith chartreuse green jong kraben. Wednesday’s golden yellow pra-sapai was matched with earthy green jong kraben. Thursday’s muted green-yellow pra-sapai complemented an orange jong kraben. Friday’s pale yellow pra-sapai was worn with blue-grey jong kraben. Saturday combined an olive green pra-sapai with deep purple jong kraben, while Sunday’s terracotta red pra-sapai was paired with dark teal green jong kraben.

Although Western-style lace blouses became more popular, they were typically made of light fabrics such as white, cream, or ivory, featuring delicate embroidery and decorative bows. This blend of Western elegance with Thai traditions created a sophisticated look, symbolising Thailand’s transition into modernity while preserving its cultural heritage.

The practice of wearing auspicious colours in the royal court continued until King Rama VII’s reign. However, after the Siamese Revolution of 1932, which led to the abolition of the Inner Court, this tradition gradually faded. As the distinction between the Inner and Outer Court disappeared, noblewomen who had upheld these customs were no longer central to Thai society. Western fashion became fully integrated into everyday attire, and pra-sapai eventually disappeared, marking the end of an era in royal court fashion.

Although the custom of wearing auspicious colours in the royal court has faded, the belief in auspicious colours remains influential in Thai culture today. Many people still choose clothing colours based on these beliefs, especially for ceremonial events, religious functions, and royal celebrations. The continued significance of colour in Thai fashion serves as a symbolic link between past and present, showing how cultural traditions still influence modern aesthetics.

The Influence of Victorian Fashion on Siam and Lanna Women during the Reign of King Rama V and the Ancient and Auspicious Order of the Nine Gems

During the reign of King Chulalongkorn (Rama V) (1868–1910), Western fashion, particularly Victorian fashion, had a significant influence on the attire of the Siamese elite. One of the most notable elements adopted was the leg-of-mutton sleeves, a symbol of modernity and elegance. This reimagined portrayal presents the attire of a noblewoman from Chiang Mai or Lanna, possibly the wife of a recipient of the Ancient and Auspicious Order of the Nine Gems(เครื่องราชอิสริยาภรณ์อันเป็นโบราณมงคลนพรัตนราชวราภรณ์). While the patterns and colours of the fabrics depicted here are designed for aesthetic representation, they reflect the exquisite quality of high-ranking textiles of that era.

Lanna Hairstyle and Accessories

The hairstyle worn by the noblewomen in these depictions was first introduced by Princess Consort Dara Rasmi, who drew inspiration from Japanese hairstyles. This high bun with a low chignon enhanced a refined and dignified appearance. This hairstyle was unique to Lanna women, distinguishing them from Siamese women of the central region, who typically wore their hair short in the dok kratumb style (ทรงดอกกระทุ่ม). The Lanna hairstyle reflected social status and was reserved for significant occasions. It was often adorned with golden tiaras or elaborate hairpins, symbolising the wearer's noble standing.

The Tubular Skirt (Pha-sin) and Lanna Textile Heritage

The lower garment consists of the pha-sin (ผ้าซิ่น), a key element of Lanna and Northern Thai attire, which differs from the jong-kraben (โจงกระเบน) commonly worn in the royal court of Siam. The pha-sin is traditionally handwoven with great intricacy, often made from fine silk or cotton, and features supplementary weft patterns (teen jok) at the hem. For noblewomen, the pha-sin often included gold or silver-threaded designs, making it a signature textile of the region. While the pha-sin depicted in these images is an imaginative representation, it reflects the elegance and social status of high-ranking women in the late 19th century.

Siamese Noblemen’s Military Uniform

The men in these images are dressed in Siamese military court uniforms, which were heavily influenced by European military dress of the 19th century. As part of King Rama V’s administrative and military reforms, Siamese officials and courtiers adopted Western-style attire to align with international diplomatic standards. The high-collared white military jacket, adorned with gold embroidery on the collar and cuffs, closely resembles the formal dress uniforms of the British and French courts. The gold, green, and yellow sash, draped diagonally across the chest, indicates a high-ranking position in the military or royal administration. The trousers, featuring gold side stripes, were worn with polished leather riding boots, reflecting European cavalry influence. A ceremonial sword, an essential part of formal court attire, signifies authority and noble rank within the kingdom.

Fashion and Portrait Photography in Early 20th-Century Lanna: The Edwardian Influence in Monton Payap

During the early 20th century, the region historically known as Lanna underwent significant political and cultural transformation. Under the administrative reforms of King Chulalongkorn (Rama V), Lanna was formally incorporated into Siam as Monton Payap in 1894. This was part of the broader centralisation policy that aimed to consolidate royal authority and modernise governance. Local rulers, such as the rulers of Chiang Mai, Lampang, and Lamphun, retained a degree of influence but were ultimately subordinated to the Siamese government. The administrative system of Monton Payap was heavily influenced by British colonial models in Burma and the Malay Peninsula, which the Siamese government studied and partially adopted.

British Influence and Centralisation in Monton Payap

During the late 19th and early 20th centuries, the British Empire expanded its influence across Southeast Asia, particularly in Burma and the Malay Peninsula. The administrative structures in these colonies served as models for the governance of Monton Payap. The Siamese government recognised the necessity of adopting British colonial methods to strengthen control over the northern region and counteract British and French territorial ambitions.

A significant turning point occurred in 1896 when Britain and France signed the Anglo-French Declaration, which formally recognised Siam’s sovereignty over Monton Payap. However, despite this diplomatic agreement, British economic influence remained dominant in the region, particularly in sectors such as teak logging and trade. To assert stronger control, the Siamese government initiated comprehensive reforms in Monton Payap, including legal restructuring, taxation reforms, and rapid infrastructure development. Railways, roads, and telegraph systems were expanded to facilitate administration and integrate the region more closely with Bangkok.

The British government also provided technical assistance to Siam, helping to modernise governance in a colonial-style framework. The administrative practices of Monton Payap reflected a hybrid model—while remaining under Siamese sovereignty, it functioned with a bureaucratic structure influenced by British colonial rule.

Edwardian Fashion and Portrait Photography in Monton Payap

As Western influences permeated Siamese society, the fashion of the elite in Monton Payap reflected the growing European presence. Women of the northern aristocracy adopted Edwardian-inspired lace blouses with high necklines and long sleeves, paired with the traditional tubular skirt (pha sin). These delicate lace blouses, often in white or pastel shades, symbolised refinement and modernity, blending Western aesthetics with traditional Lanna attire.

Hairstyles also evolved during this period. Women in Monton Payap favoured the high chignon, where hair was tightly pulled back and styled into an elegant bun at the crown of the head. This hairstyle was often adorned with decorative gold or silver hairpins, sometimes featuring floral motifs. Footwear choices reflected further Western influence—white or black stockings were paired with leather Mary Jane shoes or T-bar shoes, replacing more traditional forms of footwear.

For men, European-style dress uniforms became the standard attire for government officials and military officers. The transition from chong kraben (a wrapped lower garment) to tailored trousers and tunics was a visual marker of modernisation. Civilian officials wore high-collared tunics with brass buttons, while military officers adopted full dress uniforms inspired by British and European styles. These changes aligned with the broader administrative reforms that sought to professionalise the Siamese bureaucracy and reinforce state authority in Monton Payap.

Restoring the Past: The Love Story of a Chiang Mai Princess and a Siamese Prince Through Fashion and Image Restoration

In the realm of historical image restoration, each photograph serves as a portal to the past, revealing not just the faces of those long gone but also their stories, culture, and emotions. One such image is a century-old portrait of Prince Boworadet (พระองค์เจ้าบวรเดช) and Princess Thipawan Na Chiang Mai (เจ้าหญิงทิพวัน ณ เชียงใหม่), a photograph that beautifully captures the fusion of tradition and modernity in early 20th-century Siam. More than just a visual artifact, it tells a love story—a tale of a Chiang Mai noblewoman and a Siamese prince, bound by duty and affection, set against the backdrop of political and social change. Through the lens of fashion and digital restoration, we explore their world, where textiles and technology intertwine to bring history to life.

This restored image is of Prince Boworadet (พลเอกพระวรวงศ์เธอพระองค์เจ้าบวรเดช), the Viceroy of Northern Siam (อุปราชมณฑลพายัพ) from 1915 to 1919, and his consort, Princess Thipawan Na Chiang Mai (เจ้าหญิงทิพวัน ณ เชียงใหม่). The Viceroy was responsible for overseeing irrigation systems and dam construction along the Ping River to support agriculture and the livelihoods of the region's inhabitants. (Source: National Archives of Thailand - สำนักหอจดหมายเหตุแห่งชาติ)

However, based on the fashion elements in this image—specifically the Edwardian-style high-collared blouse and the prominence of the shoulder sash, both popular in the late 19th and early 20th centuries—it is estimated that the photograph was taken around 1900, during the reign of King Rama V (1868-1910). This aligns with the birth dates of Prince Boworadet (1877) and Princess Thipawan, placing them in their early twenties at the time, a period when young aristocrats were often formally photographed in court attire. before Prince Boworadet assumed his role as Viceroy of Northern Siam.

The Chemise à la Reine: Fashion, Politics, and the Global Impact of a Simple Cotton Gown

The late 18th century witnessed a significant transformation in fashion, largely influenced by Queen Marie Antoinette of France. Amidst the grandeur of Versailles, the queen sought refuge at the Petit Trianon, a secluded estate where she could escape the rigid expectations of court life. During these retreats, she and her closest circle adopted a simpler style of dress, favouring light muslin and cotton garments over the elaborate silk gowns traditionally worn by the aristocracy. This shift in fashion was not merely a personal preference but a bold departure from courtly convention, ultimately sparking a revolution in European dress.

In 1783, the renowned artist Élisabeth Louise Vigée Le Brun painted a portrait of Marie Antoinette wearing a modest white cotton gown, known as the robe de gaulle. This dress, cinched at the waist with a sheer sash and featuring minimal embellishment, starkly contrasted with the opulent styles of the period. When the portrait was exhibited at the Salon of the Académie Royale, it provoked an outcry. Many critics denounced the queen’s attire as scandalous, arguing that it resembled a mere undergarment and was unbefitting of a monarch. Moreover, the use of cotton—closely associated with England due to its colonial ties to India—was viewed as unpatriotic and a direct threat to the French silk industry. Despite this initial backlash, the chemise à la reine, as it came to be known, quickly gained popularity among fashionable circles, including Britain's Duchess of Devonshire. Its adoption signalled a move towards a more relaxed and natural style, challenging established norms of aristocratic dress.

The rise of the chemise à la reine had far-reaching economic consequences. As demand for cotton garments surged, European markets struggled to secure a steady supply. This led to increased reliance on cotton production in the American South, where plantation owners sought to meet the growing need for raw materials. The invention of the cotton gin by Eli Whitney in 1794 revolutionised cotton processing, making large-scale production possible. However, this technological advancement also entrenched the reliance on enslaved labour, as plantation economies expanded to capitalise on the booming cotton trade. Thus, what began as a simple shift in fashion inadvertently contributed to the expansion of slavery, highlighting the unexpected global impact of clothing trends.

Step-by-Step Guide: Creating Double Portraits in Traditional Thai Court Dress from the Reign of King Rama VI Using AI

Many people ask how to create a double portrait featuring a couple in historically accurate Thai court dress from the reign of King Rama VI. This process involves training multiple LoRA models and leveraging AI-powered editing tools to fine-tune the details. Below is a step-by-step breakdown of the workflow.

Estimating the Date of a Historical Photograph Through Fashion and Context

Photographs offer invaluable glimpses into the past, preserving the likenesses of historical figures along with their fashion, hairstyles, and cultural settings. By analysing attire and contextual clues, we can estimate the date of an image, particularly when exact records are unavailable. To enhance clarity, I use AI to restore and colourise original black-and-white photographs, making details more visible while preserving historical authenticity.

The photograph in question features Prince Uttarakarn Kosol (Sukkasem Na Chiang Mai) and Princess Buachum Na Chiang Mai, members of the Chiang Mai nobility. Princess Buachum’s attire consists of a finely woven silk pha sin (traditional Thai skirt) paired with a lace-trimmed blouse. This blend of European lace and Thai silk reflects late 19th to early 20th-century aristocratic fashion. Her upswept hairstyle follows the traditional Chiang Mai nobility style, distinct from Siamese women, who commonly wore short-cropped hair during this period. This suggests a timeframe of circa 1905-1910.

Prince Uttarakarn Kosol is dressed in a Western-style white military uniform, a style widely adopted in Siam after King Rama V’s European visits. The presence of epaulettes, a sword, and a structured belt indicates a high-ranking officer or noble status. This military attire aligns with the early 1900s when Siamese officials followed European-inspired dress codes.

Additional contextual clues further narrow the date. Historical records confirm that Prince Uttarakarn Kosol passed away in 1913 at the age of 33, meaning he was born around 1880. If the portrait was taken when he was in his twenties or early thirties, it further supports a date of around 1905-1910. The studio setting, featuring a painted backdrop of grand architecture and elaborate furniture, is characteristic of turn-of-the-century photography in Siam.

Considering the combination of fashion, historical context, and photographic style, it is highly likely this portrait dates to between 1905 and 1910, during the reign of King Rama V or the early reign of King Rama VI. Through AI-enhanced restoration, we can better appreciate the details of such historical photographs while preserving their authenticity for future generations.

From Black-and-White to AI-Enhanced: My Process for Training LoRA on Thai History

Many people have asked how I train my LoRA model on 1940s Thailand, particularly in relation to the นโยบายมาลานำไทย (Hats Lead the Nation Policy). My process begins with colourising and enhancing original black-and-white photographs, which serves as the foundation for my dataset. This step takes time and effort because the quality of the dataset is the most crucial aspect of training a successful LoRA model—it must be as close to perfection as possible.

However, when colourising these historical photographs, I don’t aim for absolute accuracy or excessive detail. The purpose of this step is not to create a historically precise colour representation but rather to teach the AI that these images are ‘colour images.’ This allows the model to learn the concept of colour and integrate it into its training. Once the LoRA is fully trained, we gain much greater flexibility. Using Flux Dev, we can adjust colours, backgrounds, and other stylistic elements through prompts, refining the final output according to our vision.

LoRA is particularly useful for generating historically accurate fashion styles because it allows for fine-tuned control over specific details, such as fabric textures, silhouettes, and accessories. By training the model on carefully prepared datasets, we can ensure that the AI understands the unique characteristics of a specific era’s fashion. In my case, training LoRA on 1940s Thai fashion enables me to recreate and explore how clothing styles from that period might have looked in colour, helping to bring history to life in a way that traditional black-and-white photographs cannot.

Here are some examples of the original images alongside their AI-enhanced and colourised versions. This method can also be applied to restoring old photographs, making it a valuable tool for those looking to preserve and revitalise historical imagery. I hope this explanation is helpful for anyone interested in training LoRA models for historical fashion with Flux Dev.

The Aesthetics of Court Ladies’ Attire in the Late Reign of King Chulalongkorn, Rama V of Siam

Interpreting Fashion Through Silhouettes and Details

The fashion of the court ladies of the Siamese royal court in the late reign of King Chulalongkorn, Rama V of Siam (circa 1900-1910) reflects an exquisite blend of traditional royal customs and Western influences, particularly from the Edwardian era, which was the height of European court fashion at the time.

The attire of court ladies retained its distinctive Siamese elegance, with chong kraben (wrapped trousers), sashes, and delicate lace blouses remaining key elements. However, Western fashion trends influenced tailoring techniques, fabric choices, and embellishments, creating a style unique to this golden era of Siamese fashion.

Thai Women's Fashion in the Early Reign of King Rama VI: Reimagining the Past with AI and Historical Precision Through Flux LoRA

The fashion of Thai women during the early reign of King Rama VI (1910-1915) reflects a blend of traditional court attire and Edwardian influences, presented here in an artistic pastel reinterpretation. The once tightly fitted, high-collared blouses of the previous era evolved into looser lace or embroidered blouses, inspired by the Edwardian shirtwaist style. These feature three-quarter sleeves, slightly open necklines, and delicate embellishments, creating a softer, more fluid silhouette. The pigeon-breasted effect, a hallmark of Edwardian fashion, is subtly echoed in the blouse’s fullness.

Women continued to wear silk โจงกระเบน (chong kraben) as their primary lower garment, maintaining Thai elegance while incorporating pastel hues in this artistic adaptation. A distinctive feature is the แพรสะพาย (phrae sapai), a sash draped diagonally across the torso, which has evolved into a light silk or chiffon cloth that now flows more gracefully, with its ends neatly hanging at the waist. This development reflects Western influences while preserving its symbolic and decorative function in Thai dress.

The ทรงดอกกระทุ่ม (Dok Krathum hairstyle), popular since King Rama V’s reign, remains fashionable but has become fuller and longer, mirroring the Edwardian Gibson Girl updo. Accessories play a key role in completing the look, with pearls, wristwatches, brooches, and layered necklaces reflecting European trends. Some noblewomen also adopted bandeaux or tiaras, mirroring the jewellery styles of Western aristocracy.

The AI Process Behind These Images

Creating these images required extensive work using Flux and training a LoRA (Low-Rank Adaptation) model tailored to Thai fashion of this era. Many existing AI platforms, particularly text-to-image and image-to-image models,struggle to accurately interpret Thai fashion, as they were primarily trained on datasets curated by Western developers. As a result, the representation of Eastern or specifically Thai historical fashion is often highly inaccurate. To address this limitation, I trained my own LoRA model to ensure historical accuracy in fashion silhouettes, fabrics, and hairstyles.

To make the silhouettes correct, I used original black-and-white photographs from the late 19th and early 20th centuries. Preparing the dataset involved colourising these images first, then enhancing them with AI for improved clarity and a 3D-like quality. Once the dataset was perfected, I trained a LoRA model to specifically generate Thai fashion of this period. My process spans multiple decades, as I have trained models for different eras from the 1830s onward, using both daguerreotype photographs and glass plate negatives. While time-consuming, this method guarantees accuracy in fashion styles, silhouettes, and hairstyles.